You have to keep enough of the organism for it to reform each dawn; and you have to keep small supplies of significance and subjectification, if only to turn them against their own system when the circumstances demand it, when things, persons, even situations, force you to; and you have to keep small rations of subjectivity in sufficient quantity to enable you to respond to the dominant reality.

Gilles Deleuze, A Thousand Plateaus p. 160

I want to engage the viewer in the place where the collective meets the individuals’ consciousness. My constructed environments create a dominant and engaging physical presence using ephemeral or anti-heroic art structures and installations as a means to explore how we process correlations between the physical, psychological and metaphysical facets of reality.

Being object, place, and space-- my work draws from diverse bodies of information, building systems, and visual references. The crux of my creative process often begins with the materials and processes I choose to represent key concepts within the work. I select my materials as a consumer, comparing and choosing items that are highly suggestive of the terrain that is being explored-- many times with a specific manipulation or use in mind. Here, the method of development relates directly to my process as a fabricator, manipulating stock materials to form objects with particular identifiable characteristics. My choice of materials has become increasingly ephemeral in nature, emphasizing the impermanence of each experience and in most cases the lifespan of the installations. The collection, repetition and orchestration of objects or their multiples act as fractals within the works. As the installations are encountered the collected materials, references, and processes undergo dramatic transformations becoming what I refer to as “simulated and/or hyper-real environments”. Such materials and building methods are in many ways sterile, non-gendered and heterogeneous while the mark is physical, moody and lush. Layers of interconnected information construct their anatomy- merging the overtly familiar, with other less obvious aspects of our surroundings, borrowing explicitly from the architectural, the biological, and the landscape. Light and transference of shadow echo illusion- playing heroic notions of the art object against their anti-heroic characteristics and fallibilities. This dichotomy is presented to create an internal power struggles within the pieces through their negotiations of structure, space and materials.
These works relate directly to ideas regarding our personal identity such as time, lifespan, intimacy, self awareness, and our connections to one another in both the public and private experience. I strive to create works that bring attention to how we associate and relate internal and external struggles and experiences. The associations I make are intended to spark a response from the viewer that involves an examination of ones self; processing the impermanence of our experiences, lives, and surroundings. Similarities between basic concepts of beauty, fear, desire, that the systems evoke create the experience of “tapping into” collective consciousness emphasizing how these connections relate to humanity. Going both ways, the flip side of this exploration lies in the separateness between ones identity of the “self” and that of the “other”, exposing the individual or protecting the ego.
My work in these areas uses visual and perceptual correlations which link our physical, psychological, and metaphysical identities and realities. It becomes vastly about the creation of relationships and information.